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practical Principles 


plain ec Perfect 


Designed by Bruce Rogers 

Set in Linotype Cloister, with 
Linotype (Cleland) Decorative Material 











i ""Ufc.0 









Will you tell me, please, why we have this "pain- 
less dentistry" when it comes to "book learning/' but 
nowhere else? 

I'm not bright enough or swift enough ever to try 
for a plumber's helper or an electrician's assistant, or 
get a grudging assent to a work out for even a minor 
league team. But I have seen the plumber's helper 
getting his instruction, and I fail to recall any words 
or acts from the plumber except a few decisive indi- 
cations of an expectant and insistent assumption that 
the young gentleman would be ready with the Still- 


son when that particular wrench was needed, would 
pass it on because he knew what the plumber wanted, 
had got this knowledge at the hands of that best of all 
teachers, Dame Experience, and had appreciated it 
when safely stowed away as a man appreciates only 
those things he holds dear and acquires by the sweat 
of his brow. 

When it comes to books, however, particularly 
those that tell us how to read and write and learn 
other things in school, one of the most impressive 
things about them is the way they try to make this 
learning so sweetly alluring, simple, easy. The pill's 
there all right, but the coating is thick, fascinating. 

To be sure, that's just one more way of saying that 
the real teacher tries to use the yeast of interest to 
raise and lighten that mass of sodden dough he's 
faced with and told to make into a loaf of bread. And 
the teacher who understands this drives his mark 
deep into the youthful mind, with gratitude from one 
side and satisfaction from the other. 

Simple and plain enough, to be sure, but just as 
certainly it is one of the things that come over us with 
new light whenever we look at a lot of school books, 
or hark back to the teachers we recall as stimulating 



and inspiring. When you get the reflex of outstanding 
personality you find a lighthouse with beams that go 
far and give mighty aid. That lacking, the thing we 
remember most clearly either in teacher or textbook 
is the way we kicked against the pricks when faced 
with that particular bit of school work. 

Look at any collection of old school books and you 
will always find the guide to right living, Spiritual 
Milk for Boston Babes, the shorter or longer cate- 
chism setting forth the conclusions and definitions of 
assemblies of divines, texts undoubtedly as effective 
in raising heat resistance when they first appeared as 
when you yourself faced them in later days. 

Then there are the plain unmitigated fact pre- 
senters, Geography Epitomized, the History of Ruri- 
tania, the Science of Numbers, often with a New set 
in front to stir a passing wave of curiosity and to make 
you hope that if all the other books failed to teach you 
how to bound Kentucky or to find the square root of 
xyz this one will finally do the impossible. 

But I fancy that of all the memories of all the text 
books we ever absorbed, or resisted with might and 
main, those that stay with us longest are either the 
story books or the stunt books, tongue twisters, para- 


dox presenters. Few there be who do not recall at 
least one startling maze of words, at least one impos- 
sible combination of figures that solved itself neatly 
when once you got the clue and used your head. And 
the book you got that from sticks in your memory, 
either as to text or illustrations. 

Those books are of course nothing more than the 
twinkle in the eye, the confidential wink, as the 
teacher tells the class he knows all along that he's 
been passing out things difficult to swallow, but after 
all they are not so hard to down if only you'll say it 
this way or do it thus. 

And even closer to us than those are the real stories, 
Goody Two Shoes and Her Alphabet, Code Robin, 
The House that Jack Built, Dick Whittington and 
His Cat, Stiuwelpeter, the Grand Panjandium, La 
Fontaine, Penault, Andersen, Grimm, Peter Pan, 
Pinocchio, Aesop the eternal and universal. 

The younger set is fortunate in having seen Walter 
Crane, Randolph Caldecott, Kate Greenaway, How- 
ard Pyle give such lasting demonstration of the ap- 
peal and response to and from the sympathetic artist 
and his boy and girl readers. And the illustrators of 
the books we buy today are in many cases living up 



nobly to the traditions passed on by those who ran 
the race before them. 

But for all time the text book is a cradle book, an 
incunabulum, in more ways than one. Every one 
knows about the Gutenberg Bible, but sometimes we 
forget about the Donatus printed at the same time if 
not before, and so lovingly— or otherwise— used by 
childish hands as to have disappeared in complete 
copies. We see Bibles and church books and histories 
—all sorts of books— appearing in those cradle days, 
but we don't want to forget that one of the first things 
those printers did when they discovered this new art 
and craft of making many copies at the same time by 
means of movable blocks of wood or metal, was to 
print a grammar, a school book. 

And their followers have jogged along in their foot- 
steps. John Foster began to print in Boston in 1675, 
and a short catechism appeared from his press the 
next year (Evans, 222) . Dr. Rosenbach's collection 
begins with The Rule of the New-Creature to Be 
Practised Every Day, dated Boston, 1682. And his 
printed record stops with 1836, the date of Peter 
Pipers Practical Principles of Plain and Perfect Pro- 






Wiilard JoHxftov, No. 141, South Stbest. 


Original title page slightly reduced 


This Peter Piper is almost as much of our common 
heritage as The Star Spangled Banner or The Boy 
Stood on the Burning Declc. Nay, I'm sure that more 
people can finish its lines, once you set them going, 
than can give you the second stanza as Francis Scott 
Key or Felicia Dorothea Hemans sent them forth. 

I recently amused myself by asking the first dozen 
men I met and knew well enough to stop with such a 
question, "Tell me, please, the first half dozen things 
you remember?" Sometimes they told about a ride in 
the buggy or a drive in the rain with one of the par- 
ents, sometimes how a mother tried to get them to 
help with household chores, sometimes a struggle 
with brother or sister over a coveted place at table or 
a plate of porridge. There were almost as many differ- 
ent phases of child life as there were men who an- 
swered the question. 

But in almost every case appeared a book or a read- 
ing exercise or a family or school sing, in some shape 
or other. Now it was the father trying to get him to 
say abc as the letters were traced. Now it was the 
dawning of the idea that c-a-t and the picture formed 
merely two ways of saying the same thing. But it was 
usually some form of the printed or written page they 



had held in memory, some form or other of a book 
that was even now as sharp and vivid a memory as the 
things they did or ate or played with. 

And here— it makes me feel as if I too were trying 
to point a moral or inculcate paths of righteousness, 
both far from my plan— is something people cannot 
say too often or too emphatically to the writers and 
designers and printers of books for boys and girls, 
namely that the things they say and the way they say 
them are going to stay with those youngsters much 
longer and much closer than many they read and 
wrestle with in later years. 

So obvious, of course, as to call for apology for say- 
ing it. But, just the same, it's important enough to 
make us glad to know that here some twenty-five 
printers who know they practice an art as well as a 
craft have set themselves the task of doing today, in 
today's fashion and manner, a piece of work already 
familiar to us in form and text for many generations. 

The facts about Peter are quickly stated. It was in 
1836 thatWillard Johnson published his text at 141 
South Street in Philadelphia, and if you turn to Dr. 
Rosenbach's catalogue of his early American chil- 
dren's books you will find between pages 286 and 287 



a charming reproduction of the cover, black print on 
a yellow or orange sheet that surely must have cap- 
tured the eye and fancy of any child that saw it, also 
the P p page showing Peter himself. 

Miss Sowerby's note for the 1836 entry is detailed 
and final, telling how the book was first published by 
J. Harris in St. Paul's Churchyard at London many a 
year before it appeared on this side of the water; the 
first American edition made its bow through Carter 
Andrews and Company at Lancaster, Massachusetts, 
about 1830. 

At the end is a Hymn. And so, children, remember 

Then what I want to do amiss, 
However pleasant it may be, 

I'll always try to think of this — 

Ym not too young for God to see! 






3UU?_9 P Q_P_# RAP poooooooocP 



Neddy Noodle 


Peter Piper's Preface 


Oliver Oglethorpe 


Andrew Airpump 


Peter Piper 

5 1 

Billy Button 

2 3 

Quixote Quicksight 


Captain Crackskull 

2 5 

Rory Rumpus 


Davy Dolldrum 

2 7 

Sammy Smellie 


Enoch Elkrig 

2 9 

Tip-toe Tommy 


Francis Fribble 

3 1 

Uncle's Usher 


Gaffer Gilpin 


Villiam Veedon 


Humphrey Hunchback 35 

Walter Waddle 


Inigo Impey 




Jumping Jackey 


Ambling Ampersand 


Kimbo Kemble 

4 1 

A Hymn 

7 1 

Lanky Lawrence 


A Note on This Book 


Matthew Mendlegs 


Who's Who? 



Face Index 99 




Designed by Peter Beilenson 
Set in Linotype Erbar Light Condensed 



Peter Piper, without 
Pretension to Precocity or 
Profoundness, Puts Pen to 
Paper to Produce these 
Puzzling Pages, 
Purposely to Please the 
Palates of Pretty 
Prattling Playfellows, 
Proudly Presuming that with 
Proper Penetration it will 
Probably, and Perhaps 
Positively, Prove a 
Peculiarly Pleasant and 

Profitable Path to Proper, 
Plain and Precise 
Pronunciation. He 
Prays Parents to 
Purchase this Playful 
Performance, Partly to 
Pay him for his 
Patience and Pains; 
Partly to Provide for the 
Printers and Publishers, but 
Principally to Prevent the 
Pernicious Prevalence of 
Perverse Pronunciation 

Designed by John S. Fass 

Illustration adapted 
from a Sixteenth Century Woodcut 

Set in Linotype Janson Italic 
and Caslon Old Face 


Andrew Airpump ask' d his Aunt her ailment; 
Did Andrew Airpump ask his Aunt her ailment? 
If Andrew Airpump ask'd his Aunt her ailment, 
Where was the ailment oj Andrew Airpump 's Aunt? 

iiii i iiiiiimiHniiii 

Designed by Joseph Blumenthal 

Illustrated by Fritz Eichenberg 

Set in Caslon Old Face Italic 
on the All-Purpose Linotype, with 
enlarged Caslon Old Face letters 


Billy Button bought a buttered Biscuit: 

Did Billy Button buy a butter 'd Biscuit? 

If Billy Button bought a buttered Biscuit 

Where s the butter d Biscuit Billy Button 

bought 7 . 

Designed by G. Gehman Taylor and 
George E Trenholm 

Illustrated by George E Trenholm 

Typography by G. Gehman Taylor 

Set in Linotype Scotch, Bodoni Bold 
and Poster Bodoni 

CM 3 

Captain Crackskull crack'd a 

Catchpoll's Cockscomb: 
Did Captain Crackskull crack a 

Catchpoll's Cockscomb? 
If Captain Crackskull crack'd a 

Catchpoll's Cockscomb, 
Where's the Catchpoll's Cockscomb 

Captain Crackskull crack'd? 

Designed and Illustrated by 
W A.Dwiggins 

Set in Linotype Bodoni 
with Linotype Decorative Material 




dream'd he drove a Dragon : 
Did Davy Dolldrum dream he drove a dragon ? 
If Davy Dolldrum dream'd he drove a dragon, 
Where's the dragon Davy Dolldrum dream'd he drove ? 

Designed by Nelson Amsden 

Illustrated by Corydon Bell 

Set in Linotype Caslon Old Face 


1-j noch E lkrig ate an empty E ggshell : 
Did Enoch E lkrig eat an empty E ggshell? 
If E noch E lkrig ate an empty E ggshell, 
Where's the empty Eggshell Enoch E lkrig 


Designed by Charles R. Capon and 
Fred Anthoensen 

Illustrated by Charles R. Capon 

Typography by Fred Anthoensen 

Set in Linotype Electra and Bodoni Bold, 
with Linotype Decorative Material 



? 0, «-o.o.o-o- 0, * 

Francis Fribble figured on a Frenchman's Filly: 

Did Francis Fribble figure on a Frenchman's Filly? 

If Francis Fribble figured on a Frenchman's Filly, 

Where's the Frenchman's Filly Francis Fribble fig- 
ured on? 

Designed by Edwin and Robert Grabhorn 

Illustration by JohnTenniel 

from Alice in Wonderland 

(Lee & Shepard, Boston, 1 869) 

Set in Caslon Old Face and Italic 
on the Ail-Purpose Linotype 


Gaffer Gilpin 

got a Goose and Gander: 

Did Gaffer Gilpin 

get a Goose and Gander? 

If Gaffer Gilpin 

got a Goose and Gander, 

Where's the Goose & Gander 

Gaffer Gilpin got ? 

Designed by Edmund B.Thompson 

Illustrated by Valenti Angelo 

Set in Linotype Estienne, with 
Linotype Decorative Border 


^h^^LLUUPUREY Hunchback 

had a hundred Hedgehogs: 
Did Humphrey Hunchback have a hundred 

If Humphrey Hunchback had a hundred 

Where's the hundred Hedgehogs Humphrey 

Hunchback had? 

Designed by John Archer 

Illustrated by Joseph Low 

Set in Linotype Scotch and 
Caslon Old Face Italic 


Inigo Impey itched for an Indian Image : 
Did Inigo Impey itch for an Indian Image ? 
If Inigo Impey itched for an Indian Image, 
Where's the Indian Image Inigo Impey itch'd 

Designed by Helen Gentry 

Illustrated by Anne Heyneman 

Set in Caslon Old Face Italic 
on the All-Purpose Linotype 


Jumping J ackey jeer *d 

a Jesting Juggler: 
Did Jumping Jackey jeer 

a Jesting Juggler 1 
If Jumping Jackey jeer ^d 

a Jesting Juggler, 
Where s the Jesting Juggler 

Jumping Jackey jeer 'd? 

Designed by Ernst Reichl 

Illustrated by Donald E Bennett, age nine 

Set in Linotype Antique No. 3 
and Antique No. 1 





> <X> tA> <A> cA> ?A> <X> t*& cA> tA? (A? <A> <A> 

Kimbo Kemble 
his Kinsman's 


Kimbo Kemble 
his Kinsman's 

Kimbo Kemble 
his Kinsman's 

Where's the Kinsman's Kettle 
Kimbo Kemble kick'd? 


Designed and Illustrated by 
Howard Trafton 

Typography by Paul A. Bennett 

Set in Linotype Gothic Condensed No. 2 


Lanky Lawrence lost his Lass and Lobster: 
Did Lanky Lawrence lose his Lass and Lobster? 
It Lanky Lawrence lost his Lass and Lobster, 
Where are the Lass and Lobster Lanky Lawrence lost? 

Designed by Edward Alonzo Miller 

Illustrated by Lucina Wakefield 

Set in Linotype Janson 



Matthew Mendlegs miss'd a mangled Monkey: 

Did Matthew Mendlegs miss a mangled Monkey? 

If Matthew Mendlegs miss'd a mangled Monkey, 

Where's the mangled Monkey Matthew Mend- 
legs miss'd? 

Designed by James and Cecil Johnson 

Set in Linotype Scotch Italic 
and Caslon Old Face 




Neddy Noodle nipp'd his neigh- 
hours Nutmegs: 

Did Neddy Noodle nip his neigh- 
bours Nutmegs? 

If Neddy Noodle nipp'd his neigh- 
bour s Nutmegs, 

Where are the neighbour s Nut- 
megs Neddy Noodle nipp'd? 

Designed by Heyworth Campbell 

Illustrations from Type Specimen Books, 
Bruce Foundry, 1882; Dickinson Foundry, 1883 

Set in Linotype Erbar Bold Condensed 



Q> Oliver Oglethorpe ogled ^^ an Owl and Oyster: & 

Did Oliver Oglethorpe ogle an Owl ^mif and Oyster! 

If Oliver Oglethorpe ogled an Owl and 


Where are the Owl and Oyster Oliver Oglethorpe ogled! 





Designed and Illustrated by 
John Averill 

Set in Linotype Scotch 


Peter Piper picked a peck of pickled Peppers 
Did Peter Piper pick a peck of pickled Peppers? 
If Peter Piper picked a peck of pickled Peppers, 
Where's the peck of pickled Peppers 
Peter Piper picked? 

Designed by Milton Glick 

Illustrated by Boris Artzybasheff 

Set in Linotype Baskerville, with 
enlarged Baskerville O 




Quixote Quicksight quiz'd a queerish Quidbox: 

Did Quixote Quicksight quiz a queerish Quidbox? 

If Quixote Quicksight quiz'd a queerish Quidbox, 

Where's the queerish Quidbox Quixote Quicksight 

Designed by Arthur W Rushmore 

Illustrated by Leo Manso 

Set in Linotype Baskerville, with 

enlarged Baskerville, Granjon Italic 

and Bodoni Italic letters 

and Electra florets 




Rory Rumpus rode a raw-bon'd Race-horse: 
Did Rory Rumpus ride a raw-bon'd Race-horse? 
If Rory Rumpus rode a raw-bon'd Race-horse, 
Where's the raw-bon'd Race-horse Rory Rumpus rode? 

Designed and Illustrated by 
Raymond Lufkin 

Set in Linotype Metroblack No. 2 



. <% ■■■■■ 





^^ Bi ^^/\.\ 


S S ELLIE s s ?ll of Small-coal 

S S s s S 

S S s a smell of Small-coal, 

s s Small-coal S S ie smelt? 

Designed by Lester Douglas 

Illustrated by Charles Dunn 

Set in Linotype Caslon Old Face 




Tip-toe Tommy turn'd a Turk for Two-pence: 

Did Tip-toe Tommy turn a Turk for Two-pence? 

If Tip-toe Tommy turn'd a Turk for Two-pence? 

Where's the Turk for Two-pence y,. ^ <& 



Designed and Illustrated by 
Robert Foster 

Set in Linotype Poster Bodoni 


Urchin — Wher e's me ugly 

Urchin Uncle's Usher urg'd? 

►J* Marks the spot where last seen 

Designed and Illustrated by 
Clarence E Hornung 

Set in Linotype Baskerville 


7illiamVeedon vip'd his Vig and Vaistcoat: 

Did VilliamVeedon vipe his Vig and Vaistcoat? 

If VilliamVeedon vip'd his Vig and Vaistcoat, 

Where are the Vig and Vaistcoat Villiam 
Veedon vip'd? 

Designed by Carl Purington Rollins 

Illustrated with 

Linotype ornaments and All-Purpose Linotype 

Metro No. 2 Family letters 

Set in Linotype Metrolite No. 2 
and Metroblack No. 2 


& a> 


Did Walter Waddle win a Walking Wager? 
If Walter Waddle won a Walking Wager, 

Where's the Walking Wager Walter Waddle won? 

Designed and Illustrated by 
Georg Salter 

Typography by Melvin Loos 

Set in Linotype Electra 


X Y and Z have made my 
brains to crack-o: 

X smokes, Y snuffs, and 
Z chews tobacco; 

Yet oft by X Y Z much 
learning's taught, 

But Peter Piper, beats 
them all to nought. 

Designed and Written by 
Bruce Rogers 

(This page was not in the 1 836 edition) 

Set in Linotype Caslon Bold Condensed 


& now comes Ambling Ampers& as tailpiece gr&. 

No letter? Ah! 
But still so fine & d&y, h&some, bl&, 

That if my h& had at comm& an alphabetter 

F d print a b&box full of Haight's B Books 

In loving mood. 

Though Einstein's fame is f & through all the Is 

For relativity, 
It's relatively one-stone less than 's 

& though we'd pl& to cut this caper, y'underst&, 

On made-by-h& paper, 
Amalgamating Ampers& dem&s this BR& 

Of Ampers&paper. 


Tm not too young for God to see: 
He knows my name and nature too, 

And all day long he looks at me, 
And sees my actions through and through. 

He listens to the words I say, 

And knows the thoughts I have within, 
And whether Vm at work or play, 

He's sure to see me if I sin. 

Oh! how could children tell a lie, 
Or cheat in play, or steal, or fight, 

If they remembered God was by, 
And had them always in his sight! 

If some good minister is near, 

It makes us careful what we do; 
And how much more ought we to fear 

The Lord who sees us through and through. 

Then when I want to do amiss, 

However pleasant it may be, 
Til always try to think of this— 

Tm not too young for God to see! 




The inspiration for this adventure in bookmaking 
was a charmingly-colored page showing Peter Piper, 
reproduced in Dr. A. S. W Rosenbach's Early Amer- 
ican Children's Books (Southworth Press, Portland, 
Maine, 1933). To the appeal of that page was added 
Dr. Rosenbach's comment in his introduction to 
that book: "... I sometimes think that my favorite 
of all is that immortal tongue-twister, Peter Piper's 
Practical Principles of Perfect Pronunciation . . ." 
Here was sufficient urge to hunt up the 1836 edition. 
It wasn't easy to locate the book, for several Amer- 
icana dealers knew nothing of it. Finally the hunt led 
where it might well have begun, to The New York 
Public Library, where a copy was carefully preserved. 



Through the courtesy and interest of the Director, 
Dr. Harry M. Lydenberg, permission was granted to 
have it photostated. 

The artists, designers and printers, whose delight- 
fully diverse solutions to a common problem appear 
on preceding pages, were invited to redesign an al- 
lotted page in any manner they pleased. Each was fur- 
nished with a photostat of the original page, each 
was free to do the page without restriction in style 
or technique, and without hampering suggestions. 
There was no hint that the page should carry a 
period, contemporary, or a "modern" flavor. There 
was no limitation to the selection of a Linotype face 
to set the text. The pages were completed by the con- 
tributors between October 1935 and April 1936. 

That this was a labor of love— both for the delight 
of children and for the interest of those within the 
Graphic Arts— is patent by the result. Lest cynics 
scorn, it should be revealed that no contributor re- 
ceived recompense for his or her contribution; all 
were delighted to participate in the undertaking. An 
extract from one letter of acceptance is indicative 
of what, perhaps, was an almost common feeling: 
"Thanks for the privilege of participation. The fact 



of the matter is, I have been rather fed up on my 
present bread and butter work and this opportunity 
acts on me like a Spring tonic— even though it is 
about ten below zero outside . . ." 

In total, forty-one individuals have made this 
book— none of them, obviously, had any idea of what 
his adjacent neighbors were planning. To each of 
them, appreciation for an undertaking excellently 
accomplished. We are particularly indebted to four 
gentlemen who "doubled in brass": To Mr. Bruce 
Rogers, who, in addition to arranging the delightful 
title page, also devoted an April week-end to devising 
and writing the amusing Ambling Ampersand page; 
to Mr. John S. Fass, who arranged the front matter 
and other pages in addition to the Andrew Airpump 
page; to Mr. W A. Dwiggins, who was responsible 
for the binding design in addition to his Davy Doll- 
drum page; and to Dr. Harry M. Lydenberg, who 
found time in a busy existence to pen the Introduc- 
tion to this book, and to counsel in its ramifications. 

It was my privilege to institute this unique collec- 
tion. To each contributor, and to the Company who 
financed its publishing, I am deeply grateful. 



£Title Page] Bruce Rogers. Born 1870, Lafayette, Ind. 
Designer of Books. Graduate Purdue University, B.S., 1890, 
honorary L.H.D., 1932. Honorary M.A. degree, Yale Uni- 
versity, 1928. Member, art staff, Indianapolis News, 1891; de- 
signer, Indiana Illustrating Company, 1892-1894. To Boston, 
Mass., with L.Prang & Co.,i895.In charge of limited edi- 
tions and general typography at The Riverside Press, Cam- 
bridge, Mass., 1895-1912. Independent designer in New York, 
1913-1916, assisting Museum Press of The Metropolitan Mu- 
seum of Art. Designed Montaigne and Centaur type faces. 
In 1917 and later, associated with Emery Walker in London, 
Printing Adviser, Cambridge University Press, Cambridge, 
England, 1917-1919. Printing Adviser, Harvard University 
Press, Cambridge, Mass., 1920 to date. In charge of limited 
editions and fine printing at The Printing House of William 
Edwin Rudge, Mt. Vernon, N. Y, 1920-1928. Among his 
many distinguished books are The Riverside Press editions 
of: The Essays oi Montaigne, 1902-1904; The Parlement oi 
Foules, 1904; The Song of Roland, 1906, and Geofroy Tory, 
1909. The Centaur (Montague Press), 191 5. The Grolier Club 
editions of: Franklin and His Piess at Passy, 1914; Oi the Just 
Shaping oi Letters, 1917; The Pierrot of the Minute, 1923; 
Champ Fleury, 1927, and Fra Luca De Pacioli, 1933. Ancient 
Books and Modem Discoveries (Caxton Club, 1927). The 
Odyssey of Homer (Emery Walker, Ltd., 1932). His master- 
ed 3 


piece is the magnificent Lectern Bible (Oxford University 
Press, 1935). Awarded Gold Medal of The American Insti- 
tute of Graphic Arts, 192 5, "for distinguished achievement in 
typography." An honorary member of the following clubs: 
Book Club of California, San Francisco; Club of Odd Vol- 
umes, Boston; John Barnard Associates, Cambridge, Mass.; 
Caxton Club, Chicago; Quarto Club, New York; Grolier 
Club, New York; Double Crown Club, London, England. 
I[ln addition to designing the Title Page of this edition, 
Mr. Rogers has also been responsible for Ambling Amper- 
sand, page 53. 

[Introduction^ Harry Miller Lydenberg. Born 1874, 
Dayton, Ohio. Director of The New York Public Library. 
Harvard College, A. B., 1897. Cataloguer, Lenox Branch, 
N.Y.EL.,1896; in charge manuscripts, N.Y. EL., 1896-1899; 
Assistant to Director, N.Y. EL., 1899-1908, Chief Reference 
Librarian, N.Y. EL., 1908-1927; Assistant Director, N.Y.EL., 
1928-1934. Author: History of The NewYoik Public Library, 
1923; Life of John Shaw Billings, 1924; Paper or Sawdust— 
A Plea For Good Paper For Good Books, 1924; The Care and 
Repair of Books (with John Archer), R. R. Bowker Co., 1931. 
Editor: Archibald Robertson, Lieutenant-General, RoyaJ 
Engineers, His Diaries and Sketches in America, 1762-1780, 

[Preface] Peter Beilenson. Born 1905, New York, N.Y. 
Proprietor, The Walpole Printing Office (printing) and, with 
Mrs. Beilenson, The Peter Pauper Press (publishing), both 
of Mount Vernon, N.Y. College of the City of New York, 
1925; Printing House of William Edwin Rudge, 1926-1928; 
Press of the Woolly Whale, 1928-1929; Village Press (Fred- 

C78 3 


ericW Goudy) parts of 1927 and 1928. With Edmund B. 
Thompson founded Walpole Printing Office, 1929. Notable 
books designed: Batouala (Limited Editions Club, 1932); An 
Immoial Anthology, 1933; Prelude to Man, 1936. 

t;A] John S. Fass. Born 1890, Lititz, Pa. Vice-President in 
charge of design and production, The Harbor Press, New 
York. Worked in a country newspaper office until after the 
War, then in various shops in Philadelphia and New York, 
including The Printing House of William Edwin Rudge. 
Notable books designed: Arabia Inielix and Other Poems 
(Fountain Press, 1929); The Study of Incunabula (Grolier 
Club, 1933); Typee (Limited Editions Club, 1935); Nursery 
Rhymes of New York City, illustrated by Use Bischoff, 1931; 
The Other Don Juan, illustrated by Steele Savage, 1932; and 
A Trip to the Prairies, 1934, the latter three printed and pub- 
lished by The Harbor Press. I[ln addition to designing the 
Andrew Airpump page of this edition, Mr. Fass has also 
been responsible for the typography of the Half Title, In- 


Who's Who, and the Index of Type Faces pages. 

(TT] Joseph Blumenthal. Born 1897, New York, N. Y. 
Director, The Spiral Press, New York. Cornell University, 
class of 1919. Designer of the Spiral type, now being cut by 
English Monotype, to be known as Emerson. Instructor in 
Printing Design and Production at the New School, New 
York. Notable books designed: The Day oi Doom (Spiral 
Press, 1929); Collected Poems of Robert Frost (Random 
House, 1930); The Lyrics oi Francois Villon (Limited Edi- 
tions Club, 1933); Poems ofW. H.Auden (Random House, 
1934); A Further Range (Henry Holt and Co., 1936), etc. 



[B] Fritz Eichenberg. Born 1901, Cologne, Germany. 
Artist, Illustrator, Wood Engraver. Studied art in Cologne, 
Germany, 1918-1923, and at The Academy of Graphic Arts, 
Leipzig, 1923-1925, specializing in wood-engraving, lithog- 
raphy and etching. For eight years staff artist, The Ullstein 
Press, Berlin. Illustrated German editions of Gullivei's 
Travels and Till Eulenspiegel (Feuer Verlag, Leipzig, 192 3); 
Crime and Punishment (Singer Verlag, Leipzig, 1924); as 
well as various modern children's books for Schneider Ver- 
lag, Leipzig, 1925-1931. Contributed articles and drawings 
to Uhu, the German satirical periodical. Travelled exten- 
sively as a correspondent for various magazines and news- 
papers in England, France, Italy, Austria, Guatemala and 
Mexico. A collection of his woodcuts is in the Bibliographic 
Museum of Leipzig. Member American Artists' Congress; 
conducting workshop in Illustration at the New School, 
New York. 

£C] George E Trenholm. Born 1886, Cambridge, 
Mass. Artist and Designer, studio in Boston. Educated in 
Somerville, Mass., designed headbands, initials and decora- 
tions for school paper. Early work in art department for a 
color printing concern, then an engraving house. Studied 
under Charles E.Heil,the Boston painter; Votjech Preissig, 
in the Graphic Arts Class at Wentworth Institute; general 
design at The Massachusetts Normal Art School in Boston. 
In 1927, designed the alphabet of old style letters used in 
U.T.A. Apprenticeship Training course; three type faces 
(Trenholm Old Style, Trenholm Cursive, Trenholm Bold) 
for Barnhart Brothers and Spindler, and a variety of deco- 
rative ornaments and borders for the same foundry. De- 
signed Georgian Cursive, 1934, for Machine Composition 


Company, Boston. In 1935, won first award (book type clas- 
sification) in the contest sponsored by the Advertising 
Typographers of America. Member, The Society of Printers, 
Boston; Boston Club of Printing House Craftsmen; Boston 
Advertising Club; The Stowaways, New York; Guild of Free 
Lance Artists, New York, etc. 

CC] G. Gehman Taylor. Born 1884, Quakertown, Pa. 
President, The Abbey Press, Gordon-Taylor, Inc., Cam- 
bridge, Mass. Designer, Typographer and Printer, Lecturer 
on layout at Boston schools and organizations. Has won 
several prizes in various typographic and printing contests, 
and honorable mention in The American Graphic Arts 
Leaders exhibit. Experience in layout, eighteen years; 
printed The Time Machine for Random House, 1931, under 
supervision of W A. Dwiggins, "one of the thrills of my 
life." Member, The American Institute of Graphic Arts, 
The Society of Printers, Boston. Hobby: Collecting the 
work of famous designers he knows, and golf. Evidently not 
bad at golf, having won the annual prize of the Graphic Arts 
Associates of New England three times. 

[D] W A. Dwiggins. Born 1880, Martinsville, Ohio. 
Designer, Calligrapher, Illustrator, Typographer. Student in 
Frank Holme's School of Illustration, Chicago, 1899-1901, 
tutors Frederic W Goudy, E X. and J. C. Leyendecker, 
John B. McCutcheon. Later, worked as free lance designer 
for printers and advertisers in Chicago, moving to Boston, 
Mass., in 1904. Acting Director, Harvard University Press, 
1917-1918. Published three numbers of The Fabulist, with 
Laurance B. Siegfried, 1915, 1916, 1921. Founded The Society 
of Calligraphers, Boston, 1919; first publication Extracts 


From An Investigation Into the Physical Properties of 
Books As They Are Now Published. Author of Paraphs 
(Alfred A. Knopf, 1928) via Hermann Puterschein; Layout 
in Advertising (Harper and Brothers, 1928); Towards A Re- 
form of the Paper Currency (Limited Editions Club, 1932); 
various essays on lettering, design and typography for Direct 
Advertising, 1916-1927; a treatise on Caslons Type Flowers 
(Society of Printers, Boston), and a monograph, D. B. Up- 
dike and The Merrymount Press (The FJeuron,No. 3,1924). 
Designer of the Linotype Metro Series (Metrolite, Metro- 
black, Metrothin and Metromedium) and Electra type 
faces. Among the notable books he has designed, decorated 
or illustrated are Ballades From The Hidden Way, and 
Elizabeth and Essex (Crosby Gaige,K)28); America Con- 
quers Death (William Edwin Rudge,i928); Strange Case of 
Dr.Jekyll and Mr. Hyde (Random House, 1929); Twenty- 
Two Printers Marks and Seals, designed or redrawn by 
WA.D. (William Edwin Rudge,i929); Poe's Tales (Lake- 
side Press, 1930); The Time Machine (Random House, 1931); 
two Limited Editions Club titles, Tartarin of Tarascon,i930, 
and Balzac's Droll Stories, 1932; The Travels of Marco Polo 
(Printing House of Leo Hart, 1933); Emblems and Electra 
(Mergenthaler Linotype Company, 1935); One More Spring 
(Overbrook Press, 19 3 5). Typical trade editions designed for 
Alfred A. Knopf include The Collected Prose of Elinor 
Wylie, 193 3; Wells' Seven Famous NoveIs,i934; Kristin Lav- 
ransdatter, 1935. Awarded Gold Medal, American Institute 
of Graphic Arts, 1929, for "distinguished accomplishment 
in typographic design." Honorary member: The Society of 
Printers, Boston; The Double Crown Club, London. Hobby, 
Marionettes. i[ In addition to designing Davy Dolldrum, 
Mr. Dwiggins also designed the binding of this edition. 



£E~ Nelson Amsden. Bom 1888, Ashtabula, Ohio. Art 
Director and Designer. President, The Roger Williams 
Company, Cleveland and New York. Owned The Amsden 
Studio,, Cleveland and Chicago. Helped develop such artists 
as John LaGatta, Fred Mizen, Alonzo Kimball, Charles R. 
Capon, Condon Bell and others. Designed the Dobbs style 
of advertising; also special editions of Dickens' The Seven 
Poor Travelers, and The Poor Relations Stoi}'; and Hugh 
Walpole's Mr. Huffam, for The Roger Williams Company. 
Pioneered in the development of Direct Color Photography. 
Hobby: Building old sailing ships. 

[E] Corydox Bell. Born 1S94, Tiffin, Ohio- Illustrator, 
Book and Advertising Designer. An enthusiast about early 
Nineteenth Century modes and manners, he created a char- 
acteristic style for Dobbs and Company advertising in 1924. 
Among the books he has designed and illustrated are: .Mari- 
onettes, Masks and Shadows 'Doubleday Page and Co.), 
one of the A.I.G.A.'Tifty Books" of 1927; and Bag O' Tales 
(E. P Dutton Co.,1934). In collaboration with his wife, as 
author, several children's books, including Black Face 
(Doubleday, Doran and Co., 1931). For Doubleday, he has 
done many book jackets. Hobby: Painting humorous and 
satirical murals. 

[F] Charles R. Capon. Born 1885, Toronto, Canada. 
Designer and Typographer. Early education in Toronto. 
Studied law nine months. Then turned to Art, studied at 
the Ontario Academy of Design. Spent several years in Art 
Departments of advertising agencies and printers. Studied 
with Eric Pape in Boston, 1915. Became Art Director of 
The Amsden Studios in Cleveland, 1917. Served as a direc- 

C8 3 ] 


tor of Marine Camouflage until the end of the war. Studied 
a year in Europe, 1923-1924. Has won six awards in poster, 
trade mark, book plate, and typographic contests. 

CF] Fred Anthoensen. Born 1882, Portland, Maine. 
Treasurer and Manager, The Southworth-Anthoensen Press, 
Portland, Maine. Also in charge of design and typography. 
Began as office boy in the plant of Marks Printing House, 
Portland, Maine, 1897. Joined Southworth Press as composi- 
tor in 1900, became plant manager in 1917. Notable books 
designed: The Narrative oi Arthur Gordon Pym, illustrated 
by Rene Clarke (Limited Editions Club, 1930); The Pearl 
(Oxford University Press, 1932); The Thriity Dreamer and 
Other Poems, 1929; An ElegyWritten in a Country Church- 
yard, 1930; Early American Children's Books, 1933; Frank 
Forester (Carteret Book Club, 1933); A Glossary oi the Con- 
struction, Decoration and Use oi Arms and Armor, 1934; 
The Bashiord Dean Collection oi Arms and Armor, 1934; 
The Clan Chisholm, 1935. All were printed, and some of 
them published, by the Press. 

CG] Edwin and Robert Grabhorn. Born 1889 and 
1900, respectively. (Edwin, 1889, Cincinnati, Ohio; Robert, 
1900, Indianapolis, Ind.). Founded The Grabhorn Press, 
San Francisco, 1920. Previously in Indianapolis, 1915-1919. 
Items appeared under various imprints: The Studio Press; 
R. Thatcher and E. Grabhorn; E. and R. Grabhorn and J. 
McDonald. The Press has produced many books published 
by The Lantern Press, The Book Club of California, John 
Howell, The Westgate Press, Random House, etc. Among 
the more than 150 books produced since 1919 are the follow- 
ing, each one of the A.I.G.A. "Fifty Books of the Year": 



1923 exhibition, Sundry Ballades; The Song of Songs (Book 
Club of California). 1924, Oscar Weil, Letters and Papers 
(Book Club of California). 192 5, Aldus Pius Manutius, and 
The Letter of Christopher Columhus (Book Club of Cali- 
fornia). 1926, The Philobiblon of Richard de Bury (Book 
Club of California); The Modern Writer (Lantern Press). 
1927, The Letter of Amerigo Vespucci (Book Club of Cali- 
fornia); Francis Drake Along the Pacific Coast ;The Book of 
Ruth. 1928, The Golden Touch; For Whispers and Chants 
(Lantern Press); A Journey to Lower Oregon and Upper 
California, 1848-49 (John J. Newbegin). 1929, Around the 
Horn in '49 (Book Club of California); The Scarlet Letter 
(Random House); The Voiage and Travaile of Sir John 
Maundevile, Kt (Random House). 1930, Sonnets From An- 
tan (Fountain Press); The Relation of Alvar Nunez Cabeca 
de Vaca; American Taste (Westgate Press). 19 31, Trie South- 
ern Mines of California; Leaves of Grass (Random House). 
1932, The Santa Fe Trail to California, 1849-1852 (Book 
Club of California); Speaking at Seventy (Gelber, Lilien- 
thal, Inc.); The Subtyl Historyes and Fables of Esope; The 
Bible of the Revolution (John Howell). 1933, The Diary of 
Johann August Sutter. 1934, California As It Is and As It 
May Be; Narrative of Nicholas "Cheyenne" Dawson; Cali- 
fornia in i8$i,The Letters of Dame Shirley. 1935, A Cali- 
fornia Gold Rush Miscellany; Bibliography of the Writings 
of Edgar A. Foe (Russian Hill Private Press); California in 
1846; Pen-Knife Sketches; The Spanish Occupation of Cali- 
fornia; Round Table Sonnets (University Club, San Fran- 
cisco). 1936, Life Among the Indians; Solstice and Other 
Poems (Random House). ([ In the foregoing listing of books, 
The Grabhorn Press is the publisher where no specific men- 
tion is given. 

C8 5 : 


[H] Edmund B. Thompson. Born 1897, New York. 
Typographer and Printer. Proprietor, Hawthorn House, 
Windham, Conn. Columbia University, class of 1918. Army 
service at the Mexican Border and in France. Printing 
House of William Edwin Rudge, 1925-1929, with an inter- 
val in 1928-1929 at The Georgian Press. In partnership with 
Peter Beilenson organized Walpole Printing Office, 1929. 
Withdrew in 1932 and established Hawthorn House at 
Windham, Conn., which operates as a small printing busi- 
ness with occasional publishing ventures. Notable books 
designed: The House of the Seven Gables, illustrated by 
Valenti Angelo (Limited Editions Club, 193 5); Miscellane- 
ous Antiquities, Numbers 6 to 11 (W S. Lewis); Cherry 
Ripe (Hawthorn House, 1935). 

CH] Valenti Angelo. Born 1897, Massarosa, Tuscany, 
Italy. Painter, Sculptor, Designer, Illustrator and Illumina- 
tor of Books. Exhibited paintings at Pennsylvania Academy 
of Art; Ferragil Galleries, New York; San Francisco Museum 
of Art, etc. Has both sculptures and paintings in various pri- 
vate collections and museums. Illustrated some thirty-odd 
books for The Grabhorn Press, San Francisco, 1926-1933. 
Notable among these are the Random House editions of 
TheVoiage and Tiavaile of Sir John MaundeviJe, Kt.,1928, 
The Scarlet Letter, 1928, Leaves of Grass, 1930, and The 
Red Badge of Courage, 1931; The Letter oi Amerigo Ves- 
pucci (Book Club of California), 1926; Robyn Hode (West- 
gate Press), 1932; and these Grabhorn Press published vol- 
umes: The Book of Job, 1926; Salome, 1927; The Book of 
Ruth, 1927; Relations of Alvar Nunez Caheca De Vaca, 
1929, and The Suhtyl Historyes and Fahles of Esope, 1930. 
Moved to New York in 1933 and was commissioned (by the 



Limited Editions Club) to illustrate A Thousand Nights and 
A Night 7 1934; The House of the Seven Gables, 1935, and a 
hand illuminated edition of The Rubaiyat of Omar Khay- 
yam, 1936. Established, in 1935, The Golden Cross Press to 
produce and publish fine hand illuminated books. The first 
two issued are The Book of Esther and The Seimon on the 
Mount, each printed by Edmund B.Thompson. 

[I] John Archer. Born 1886, Birmingham, Eng. Printer 
to The New York Public Library. In Printing Office, Car- 
negie Library of Pittsburgh, 1901-1910; with The New York 
Public Library, 1910 to date. Author: The Care and Repair 
of Books (with Harry Miller Lydenberg), R. R. Bowker Co., 
1931. Member, Grolier Club, New York; Director, Ameri- 
can Institute of Graphic Arts. Notable books designed: 
Archibald Robertson, His Diaries and Sketches in America; 
the first English translation of The Geography of Claudius 
Ptolemy; American Historical Prints; Washington's Fare- 
well Address, all published by The New York Public Library. 

CI] Joseph Low. Born 1911, Coraopolis, Pa. Student, 
Painter, Engraver. Two years at University of Illinois, fol- 
lowed by three years in and out of odd jobs (truck driver, 
factory hand, steel worker, printer, etc.) with efforts at self- 
instruction in drawing and engraving. At Art Students 
League, New York, since October 1935; teachers: George 
Grosz, Vaclav Vytlacil. 

[J] Helen Gentry. Born 1897, near Temecula, Califor- 
nia. Printer, Typographer, in charge of Design and Produc- 
tion, Holiday House, New York. University of California, 
class of 1922. Established her own Press in San Francisco 



1929, continuing to 1934. Collaborator (with David Green- 
hood) of Chionology oi Books and Printing (Helen Gentry 
Press, 1933, and The Macmillan Co., 1936). Notable books 
designed: Tom of Bedlam's Song, decorations by Lowell 
Hawk (Helen Gentry, 1931); Scoiing Systems For Fhweis 
and Gardens, decorations by Frank Gregory (Hillsborough 
Garden Club, 1932); The History of Tom Thumb, illustrated 
by Hilda Scott (Helen and Bruce Gentry, 1934). 

[J] Anne Heyneman. Born 1910, San Francisco, Cali- 
fornia. Artist. Illustrated two Helen Gentry books: Rip Van 
Winkle (Helen Gentry Press, 19 34), and Cock Robin (Holi- 
day House, 1935). 

[K] Ernst Reichl. Born 1900, Leipzig, Germany. De- 
signer, H.Wolff Book Manufacturing Co., New York, since 
1931. University of Leipzig, Ph.D., 1924. Designer, Alfred 
A. Knopf, Inc., 1927, Art Director, Doubleday, Doran and 
Co., Garden City, L. I., 1928-1931. Of some 3,000 books he 
has designed in fifteen years, Mr. Reichl keeps thirty titles 
on his shelves and values these three: November (Roman 
Press, 1932), Ulysses (Random House, 1934), Locos (Farrar 
and Rinehart,i936). 

£K] Donald P Bennett. Born 1926, Cleveland, Ohio. 
Student, fifth grade, Public School No. 150, Long Island 
City, N. Y. This youngster scrawls pictures when he isn't 
playing, which is seldom. The designer of the page, Mr. 
Ernst Reichl, admired some past sketches he had done for 
Christmas cards, asked for this picture, likes it. The young- 
ster doesn't care for it now that he sees it in print, wants to 
withhold publication. 



£L] Howard Allen Trafton. Born 1897, New York, N.Y. 
Artist, Poster Designer, etc. Designer of Trafton Script. In- 
structor, the Art Students League, New York. Spends as 
much time as possible in Paris, at least four months annu- 
ally, but still likes corn on the cob and baseball. 

[L] Paul A. Bennett. Born 1897, Brooklyn, New York. 
Typographer and Copy Writer. In charge of Typographic 
Layout, Mergen thaler Linotype Company, Brooklyn, N. Y. 
Educated in New York schools; worked in various New York 
printing offices on composition, layout, etc., 1912-1917. Over- 
seas service, machine gunner. In Cleveland, Ohio, 1919-1927, 
as Director of Typography, Fuller & Smith (advertising 
agency); Production Manager, Dunlap-Ward Advertising 
Co.; Advertising Manager, Chandler Motor Car Co.; Pub- 
licity Manager, Chandler- Cleveland Motors Corporation. 
With Mergenthaler Linotype Company since 1928. Con- 
tributor to various automotive trade papers, The American 
Printer, PM.; The Dolphin, No. 2, etc. Lecturer on Graphic 
Arts, New York University, 1931-1933. Editor, News-Letter, 
The American Institute of Graphic Arts, 1934-1935; Editor, 
Books and Bookmakers department, The Linotype News, 
1930 to date. Director, The American Institute of Graphic 

t^M] Edward Alonzo Miller. Born 1889, Philadelphia, 
Pa. In charge of Design and Production, The Marchbanks 
Press, New York. Typographer with The Oswald Press, New 
York, 1917-1919; Production Manager,The Marchbanks Press, 
1921-1927; Director of Printing at The Cranbrook Press, 
Bloomfield Hills, Mich., 1930-193 3; returned to The March- 
banks Press in 1934. 



£M] Lucina Smith Wakefield. Born 1895, Atlanta, 
Georgia. Artist. Early art training with her father, an archi- 
tect. Later studied at the Art Students League, New York, 
and with Frederic R. Gruger. Illustrated book jackets for 
many publishers, including Doubleday, Dutton, Harcourt- 
Brace, Harper's, Appleton-Century. Among the books she 
has illustrated are Pirate Plunder (Harper and Brothers, 
1927); Westward: The Romance of the American Fiontiei 
(D.Appleton and Co.,1930); The Secret Cave (E.E Dutton 
and Company, 1930); The Canape Book (D. Appleton-Cen- 
tury Co., 1934). 

£N] James and Cecil Johnson. Born in Sydney, Aus- 
tralia, 1897 an d 1 9 00 ' respectively. Founded The Windsor 
Press, San Francisco, 1924, and comprise its personnel. 
James, the designer, typographer, pressman and author, has 
been in printing since 1913. Among the books he has writ- 
ten: The Centaur, Everue and Other Poems, 1927; A Child 
of Adam, 1927; Studies in Sombre, 1928; Nocturne in St. 
Gaudens,io,2o,; The Persian Garden, 1929; Punch and Lady, 
AVersion, 1932; etc. Cecil, his brother, is joint author of A 
Goddess Walks Attended, 1930; compiler of a George Ster- 
ling bibliography, and has been associated with printing 
since 1924. Both brothers served with the Canadian forces 
in France. Among the forty odd books they have printed at 
The Windsor Press are the above, and The Piess oi the Re- 
naissance in Italy, 1927; The Triumphs oi Petrarch, 1928; 
Mediaeval Latin Students Songs, 1928; The Ackymals, 1929; 
The Book of Thel, 1930; A Bibliography oi the Writings oi 
George Sterling, 1931; Oriental Eclogues, 1932; Printers' 
Flowers, 1933; The Book oi the Machine, 1934; A Printers 
Garland, 1935. 


CO] Heyworth Campbell. Born 1886, Philadelphia, 
Pa. Format Editor and Designer for publishers, Writer, Lec- 
turer. Created formats for Everybody s Magazine, Vogue, 
Vanity Fair, House and Garden, Literary Forum, Sports- 
man, The Morning Telegraph (New York), Architectural 
Forum, Harper's Bazaar, House Beautiful, Town and Coun- 
try,World Petroleum. Edited and designed The Body Beau- 
tiful (Dodge Publishing Co., 1935). Designed advertising 
for General Motors, R. H. Macy and Co., Atwater Kent, 
Sterling Silversmith's Guild, Good Housekeeping, and Led- 
erle Laboratories. Advertising for Marshall Field won Har- 
vard Award, 1929. Second president, Art Directors Club, 
New York. Now contacting BusinessWeek, Arts and Deco- 
iation,Travel, Diesel Progress, Decorator's Digest, American 
Radiator, Lucien Lelong, Charak. Hobbies: Cats and rifle 

[P] John Averill. Born 1900, Gayoso, Missouri, a town 
no longer on the map— the Mississippi River washed it 
away. Designer of Advertising and Printing, Commercial 
Artist. In 1911, printer's devil in a country newspaper office; 
high school, art school, unimportant cartoonist (he says) at 
the Chicago Herald Examiner and for trade papers. Made 
Sears Roebuck mail order catalog layouts, discovered typog- 
raphy and design, did general studio work. Art Director, 
Rogers & Co., Chicago; Free Lance designer, working for 
R. R. Donnelley Sons & Co., Chicago, among others. Now 
designing advertising and printing with Mills Novelty Co., 
Chicago. Prize possessions: A small typographic library; 
Contax camera; Luther, a Dachshund pup, and a compara- 
tively late model Ford. Personal weakness, sweepstakes 



CQ3 Milton Glick. Born i904,Willard, Ohio. In charge 
of Design and Production, The Viking Press, New York. 
Graduate, Harvard College, 1926. Worked in shops of The 
Mercury Press, Ltd., Chelmsford, Essex, England, 1926- 
1927; The Printing House of William Edwin Rudge, Mt. 
Vernon, N. Y, 1927-1928. Since November, 1928, with the 
Viking Press. Married Evelyn Harter,i933. 

CQ] Boris Artzybasheff. Born 1899, Kharkov, Russia. 
Designer, illustrator, engraver. Came to United States in 
1919. Painted murals and stage settings. Illustrated more 
than twenty-five books, including: Creatures, 1927; Oipheus, 
1930; Behind Moroccan Walls, 1931; all three published by 
Macmillan; Gay Neck,i928 (Dutton); Three and the Moon, 
1929 (Alfred A.Knopf); Aesop's Fables, 1933; and The Cii- 
cus of Doctor Lao, 1935, both published by The Viking 
Press. Has exhibited at The New York Public Library; The 
Brooklyn Museum; Salon d'Antoinne, Paris; Leggett Gal- 
lery, Waldorf Astoria, New York; and The Ferargil Galleries, 
New York. 

[R] Arthur W Rushmore. Born 1883, Brooklyn, N.Y. 
In charge of Design and Production, Harper and Brothers, 
New York. Joined Harper organization around the turn of 
the century, headed Production Department for years and 
years. Started The Golden Hind Press in Madison, New Jer- 
sey (his home) in 1927,3s a hobby— like the postman who 
collected stamps. Notable books designed: Fatal Interview, 
1931; Sonnets From the Portuguese, 1932; Jesus As Teacher, 
1935; each published by Harper and Brothers; and, with 
Warren Chappell, The Anatomy of Lettering (Loring and 



CR] Leo Manso. Born 1914, New York, N. Y. Illustrator, 
Designer, Painter. Awarded Metropolitan Art School schol- 
arship, 1928; winner of many School Art League medals. 
Studied at National Academy, 1930; later with Arthur 
Schneider, the painter. Planned and conducted various ad- 
vertising campaigns as Art Director for First Division Pic- 
tures. At present designing book jackets and painting. 

CS] Raymond Lufkin. Born 1897, Salem, Mass. Artist. 
Free lance designer, Boston, Mass., 1922-1933; New York, 
1934 to date. 

£T] Charles Dunn. Born 1895, Washington, D. C 
Painter, Illustrator, Cartoonist, Caricaturist. Staff artist 
Nation's Business. Award winner in many art competitions 
first medal award Washington Society of Artists, 192 5, Cor 
coran Gallery of Art. Exhibitor: Chicago Art Institute 
Pennsylvania Academy of Art, National Academy of De 
sign, New York, Corcoran Biennial, Washington Arts Club 
Illustrated two Lester Douglas books: Dickens' A Christ- 
mas Carol, and Three Men oi Persia by Ralph Bradford. 

CT] Lester Douglas. Born 1893, New York, N. Y. 
Director, Art and Typography, Nations Business and U. S. 
Chamber of Commerce. Book, magazine and advertising 
designer, playtime cartoonist. Attracted to typography dur- 
ing his 'teens, handled magazine formats for The American 
Magazine and Ciowell Publishing Co. As advertising agency 
executive planned all types of campaigns, directing art and 
typography for twelve years. Notable books designed : The 
Gospel According to Saint Luke, illustrated by Hans Foy, 
and The Gospel According to Saint John, illustrated by 



Lewis Daniel (Judd & Detweiler, 1930, 1931); Robbins' 
Journal (Conde Nast Press, 1931); The Travels of Marco 
P0J0 (Limited Editions Club, 1934); wrote and designed 
Color in Modem Printing for Frederick H. Levey Co., New 
York, 1931. 

[U] Robert Foster. Born 1895, State College, Penn. 
Graphic Artist, Poster and Cover Designer. Pennsylvania 
State College, class of 1917, Mechanical Engineering. Art 
editor, college comic Froth. United States Navy, during the 
World War. Two years in engineering work. 1921 to date: 
contributor, Woman's Home Companion; packaging and 
poster work for Atlantic Refining Company, Philadelphia, 
Pa., athletic program covers for University of Pennsylvania; 
designer of Pericles and Foster Abstract type faces, abstract 
sculptor. Instructor in Design at Pratt Institute, Brooklyn, 
New York. Exhibitor in England, Germany, France, Holland 
and Austria. 

[V] Clarence Pearson Hornung. Born 1899, New 
York, N. Y. Free Lance Designer. Educated in New York 
schools, and the College of the City of New York. Early 
work, beginning in 1920, was decorative design in tradi- 
tional period styles for American Piano Company, Bartlett- 
Orr Press, Mergenthaler Linotype Company, R. R. Don- 
nelley & Sons Company, American Type Founders Com- 
pany, etc. Since 1926 has specialized in trade-mark design, 
book and bookbinding design, interior decoration, product 
and package design. Designed books for many publishers; 
bindings for Encyclopaedia Britannica, Standard Encyclo- 
pedia, Dictionary oi American Biography , Scribner's, Har- 
per's, Alfred A. Knopf, H. Wolff Estate, Limited Editions 



Club, etc. Typographic initials and decorative elements de- 
signed for American Type Founders Company include: 
Vogue, Georgian, and Lexington Initials, Wedgewood Cam- 
eos, Pen Flourishes. Author of numerous articles for Adver- 
tising Aits, Direct Advertising, The American Printer, Con- 
temporary Books. Among the books he has written and de- 
signed are: The Bookplates of Harold Nelson (Caxton Press, 
1929); Trade-Marks by Clarence Hornung (Caxton Press, 
1930); A Handbook of Designs and Devices (Harper and 
Brothers, 1932). 

[W] Carl Purington Rollins. Born 1880, West New- 
bury, Mass. Printer, Writer, Designer. Printer to Yale Uni- 
versity, New Haven, Conn. Educated at Newburyport High 
School and Harvard. Worked on Georgetown (Mass.) Advo- 
cate as editorial writer, compositor, mailing clerk and press 
feeder. Worked for Heintzmann Press, Boston, as book com- 
positor 1901-1903. Operated New Clairvaux Press, Monta- 
gue, Mass., 1903-1905. Chief, Department of Graphic Arts, 
Jamestown Exposition, Norfolk, Va., 1907. Ran (and was 
run by) Montague Press, Dyke Mill, Montague, Mass., 
1907-1918. With Yale University Press, 1918 to date. Honor- 
ary M.A.Yale University, 1920; Medalist, American Insti- 
tute of Graphic Arts. Conductor of The Compleat Collector 
department (with John Win terich) in The Saturday Review 
of Literature, New York. Of the hundreds of books he has 
designed, forty-three were selected for the annual "Fifty 
Books" exhibitions of The American Institute of Graphic 
Arts, 1923-1936. Of this group (all published by Yale Uni- 
versity Press unless otherwise indicated) are: 1923 exhibi- 
tion, Journal of a Lady of Quality; History of St. George's 
Church. 1924, Old Houses of Connecticut; A Lodging For 



The Night (Grolier Club); Pedro Menendez de Aviles (Flor- 
ida State Historical Society). 1925, Early Domestic Archi- 
tecture oi Connecticut; Anchors oi Tradition (awarded the 
Institute medal for "most ably meeting the problems in- 
volved"); RasseJas in the New World (privately printed). 
1929, On the Duty oi Civil Disobedience (At the Sign of the 
Chorobates). 1930, Loyalists in East Florida (Florida State 
Historical Society). 1931, Machu Picchu y A Citadel of the 
Incas; Wine Making for the Amateur (Bacchus Club, New 
Haven). 1934, The Adventures of Huckleberry Finn (Lim- 
ited Editions Club). In addition to HucJcJeberry Finn, 1934, 
Mr. Rollins designed two other Limited Edition Club titles: 
Snowbound, 1930; The Way oi All Flesh y 1936. 

£X-Y-Z] Georg Salter. Born 1897, Bremen, Germany, 
Artist, Designer, with H. Wolff Book Manufacturing Co., 
New York. Studied art at Berlin, Germany, 1919-1922. De- 
signed theatrical and operatic stage sets and costumes for 
Deutsches Opernhaus and Grosse Volksoper, 1922-1927. 
Became interested in miniature work, book jackets and book 
decoration in 1924, dropped stage design in 1927, entering 
the Graphic Arts field. Director, Commercial Art Division, 
the Municipal Graphic Arts Academy (Berlin) 1931-1933. 
Moved to New York in November, 1934, connected with 
H.Wolff Book Manufacturing Co. Now doing book design, 
book jackets and book illustration for various publishers, in- 
cluding Simon and Schuster, Alfred A. Knopf, etc. "I know 
of no 'important' or 'unimportant' book I have ever done." 

CX-Y-Z] Melvin Loos. Born 1897, New York, N.Y. Su- 
pervisor of Printing, Columbia University Press, New York. 
After the War (service in the Navy) with The Irving Press, 



and Typographic Service Co., both of New York. Assistant 
Superintendent and Superintendent, The Printing House 
of William Edwin Rudge, Mt. Vernon, New ¥0^,1925-1932. 
With Columbia University Press, N.Y., since 1932. Notable 
books designed: Contemporary American Portrait Painters 
(W W Norton & Co., 1929), The English Dictionarie of 
1923, and The Grand National, 1829-1930 (Huntington Press, 
1930), Catalog of the Lithogiaphs of Joseph Pennell (Little, 
Brown & Co., 1931), all printed by Rudge. 



antique no. 3, page 41 

BASKERVILLE, pages 53, 55, 63 

bodoni, page 27 


CASLON OLD FACE, pages 29, 33, 59 

CASLON OLD FACE ITALIC, pages 23, 33, 39 

cloister, pages 1, 3, 17 
electra, pages 5-13, 15, 31, 67, 73-75, 77-97, 99 


estienne, page 35 


janson, page 45 

JANSON ITALIC, pages 21, 71 

METROBLACK NO. 2, pages 57, 65 

METROLITE NO. 2, page 65 

poster bodoni, page 61 
scotch, pages 25, 37, 51 
scotch italic, page 47